The happiness of owning the yards is not hindered easily. Liberty to have several lawn parties and the safe places for children to play easily is consider as the pleasure worth utilizing without any doubt. Yet, when the slice of bliss begins to be filled by weeds, urchin patches of the grass & something else, which the lawn owners merely cannot cover, it may feel much like the burden as compare to privilege.
The best weed eater for money exists to weeds and tame grass in areas that lawn mower is unable to reach such as corners of the driveway and around the trees. Moreover, it gives the best final changes for ensuring the lawn is presentable perfectly after each cut down. Continue reading “Why People should know their Weed Eating Requirements in order to get the Best Weed Eater for Money Mainly for Garden Maintenance”
ONE OF THE GREAT IRONIES Of American history is that the mammoth du Pont chemical and financial empire was founded by a group of du Ponts who fled Napoleonic France in 1799 with the intention of establishing a utopian agrarian community in rural Virginia. Financial circumstances forced the family to turn from agriculture to industry, but their obsession with horticulture lived on for generations.
That obsession is vividly evident today at the four major du Pont gardens: Hagley, Winterthur, Longwood, and Nemours, all open to the public and located within a few miles of each other in the Brandywine Valley of Delaware and Pennsylvania, midway between New York and Washington, D.C.
Each garden has its own strong character in terms of design, scope, and intention. Visitors can spend an enjoyable two or three days seeing the gardens (and former du Pont homes) which span a fall range of horticultural possibilities as well as much of American history. But be forewarned: One weekend visit makes most people vow to return. Continue reading “In the valley of the brandywine: four du Pont gardens reveal a family passion”
What role, if any, has sculpture to play in modern gardens? Historically, of course, it has been a part of gardens – even the main part – from classical times through the Renaissance. Roman gardens were essentially stage sets where architecture effects were contrived and sculpture set everywhere to manifest the taste or wealth of the owner. Living things played architectural roles, clipped to form walls and arches or shaped into topiary obelisks, peacocks, pinecones, stags, and such. Plants thus became either vegetable masonry or statues in themselves. Renaissance gardeners borrowed these effects and set about either unearthing the buried statues or copying them to grace their parterres, terraces, allees, and fountains. In both cases, though urns and obelisks existed in abundance, it was the human form, idealized as gods and goddesses, that was most popular for garden ornamentation. Against such ornamentation plants played, perforce, a secondary role.
The great landscape gardens made in England by William Kent, Lancelot Brown, and Henry Hoare in the heart of the 18th century, though they generally eschewed the terraces, stairs, and long reflecting pools of the Italian style, retained statuary and architectural ornament. The sweeping lawns punctuated by natural groupings of trees, the picturesque cows held at an attractive distance by ha-has, the verdant woodland paths that invited the eye to distant mountaintops – all were contrived to refer the landscape back to nature, albeit a “nature methodized” (as Alexander Pope might put it) by a controlling human hand. Nevertheless, pictures of tranquil verdure were seen as just that, pictures, requiring a “point,” such as a temple, a ruined grotto, or an imposing statute. Continue reading “Elements of design: alternatives to sculpture”